Parazit: Music without Rules

There are groups that when editing their albums should place a legend in which they warned of their effects. A label that could encompass the consequences of approaching those albums and not the stupid invented by the Parents Music Resource Center and its outdated “Explicit Lyrics” advice.

sticker that said something like: “Be careful, this can change your life … forever.” If there is, surely the discography of Parazit – in other languages ​​the word means noise – would be filled with those sticks.

A native of Guadalajara, the group emerged in 2010 with the idea of ​​forming an instrumental trio without rules and in which music was in charge of speaking. The original line-up was made up of Alex Reyes (guitar), Kello Gonzalez (bass) and Christian Gómez (drums), an alignment with which they recorded a pair of plates: Fractal Journey of Light and N oise (2012) and Amateur adio in Space (2015). Just after the release of that second reference, the set underwent a change when José Macario was integrated instead of Alex Reyes. Since then, two more records have appeared: Paradigm Paralysis (2017) and Aural Coincidence (2018).

We said that in each one of Parazit’s recordings a label should be found in which it was noticed that this flow of sounds is capable of blowing one’s head. From the outset, the sound of the bass produces a quick simile with Primus, but after the first impression we realize that this three-headed monster has its own identity, forged to chisel in a relatively short period, although it is evident that there is more experience behind (José Macario plays his songs in his own trio, in addition to doing it in Arcadia Libre and Golden Ganga; Christian Gómez and Kello González play in Nata and also serve as session musicians).

Parazit should be handled with care and extreme caution. His music is devastating; but although one of its components is energy, we also find in it a careful work of composition that makes it even more attractive. Since its inception, the trio has gained strength and this can be seen in the evolution shown in each of its albums.

As an example. “Sonic Ionospheric Disturbance”, the opening cut of Amateur adio in Space has a funky dislocated, playful, intricate metric sound with continuous starts and stops. If one has armed himself with enough courage to become an adventurer and continues to hunt for experiences, he comes across directly with “Dxing,” in which a low threat to explode, while the guitar is howling, squeaky and the drums seem not to mark. the times properly, all marked by a quasi-dance momentum. However, what kind of body, of elasticity, should be had to be able to dance a composition like this?

Parazit is an agitated, turbulent, thunderous entity for moments, with frantic themes and bathed in a funky spasmodic (“Koutoumukel Radio Relay League”), progressive cares combined with jazz nuances and virtuosity flavors (“AO-7”, “ELF “). Occasionally a slow theme (“UHF”) appears to appease the excitement after so much swing.

If you have been foolish enough to ignore the warning notices and decided to go into the music of Parazit, I recommend you pause before continuing with Paradigm Paralysis in which, obviously, there is a continuity with what was established in the previous productions , but where there is a greater refinement and polish in the composition. At times there are more spaces for breathing, but the devastating attacks remain (“Doppelganger”) and jazz-hardcore (“Supermassive”) emerges. The effects of group integration on playing are evident; Without becoming machines, in Parazit you “feel” how that communication is in the interest of your work and explodes like grenade, but instead of moving away from these splinters, it would be worth letting yourself be impacted by them.

It is the task of the group – and they almost always do it – to make a dent, to leave an imprint difficult to forget. Perhaps that is why in his bandcamp three live recordings can be heard because, he says, Kello González, “every time we release a new album and start putting together the songs to play them live, they catch new life. To capture it, we try to do live sessions that show how the compositions change over time. ”

The most recent recording of the band is the aforementioned album Aural Coincidence , whose beginning is truly aggressive, even tends to the territories of an extreme metal. However, the subtlety is not abandoned, we find it in slight winks to other cultures (“DMBT”) and the funk presence is maintained (“The Ghost Machine, with a tremendous singleof guitar). There are compositions with an urgent tone like “Kauso”, so urgent and vital that it seems that the whole will have to be broken by the speed with which it is delivered. “Quark Soup” (with Adrián Terrazas in saxos) is a perverse funk, ideal for falling in love with an extraterrestrial in an alien bar; “Summum (Ruinae)” and “Acerbic Wit” are good examples of progression in the 21st century and the collaboration with guitarist Tonio Ruiz (“Uhorligathirst”) adds fire to what is already conflagration.

Parazit is a band of excesses, nothing happens halfway there. You can’t even think that one, anyone, might like it more or less. They are embraced or disdained and it is that at the time of taking stock, they do not know the meaning of the word contemplation: “We remain firm in our crusade of making music without rules, without following fashions and to please our musical desires only. We have been fortunate that more and more people join our taste for this music and we will continue to do so until there is no more. ”